Play jimmy swaggart music on echo prime
Even on compilations of Erwin Records material, it’s not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis’ own playing.īut while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson’s “Enie Meanie Minie Moe”:Īnd “Boppin’ Wig Wam Willie” by Ray Scott, who had written “Flyin’ Saucers Rock & Roll” for Billy Lee Riley, and who was backed by Riley’s Little Green Men on this single:Įllis’ label wasn’t hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber’s chair. Erwin Records was a tiny label - it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. He found his way into the industry, and into music history as a result of a tip from his barber. He knew he couldn’t do that himself, but he was irresistibly attracted to any field where that was *possible*. One of the gigs he’d had was in the house band at a venue where Elvis sometimes played in his early years, and he’d seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. Instead, he was working a day job at a bank.īut he was still interested in music, and wanted to be involved in the industry. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn’t making any real money from music. Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: Today, we’re looking at “Green Onions” by Booker T. Today we’re going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. This is the last of those flashback episodes, and from next week on we’re moving forward into 1963. Since “Telstar” we’ve been looking at records from 1962 that came out just before “Love Me Do” - we’ve essentially been in an extended flashback. Why not join them?Īnd now we come to the end of the backfilling portion of the story. This podcast is brought to you by the generosity of my backers on Patreon. It’s out of print physically, but the MP3 edition, while pricey, is worth it. 1: 1959-1968is a nine-CD box set containing much of the rest of the music in this episode. If the Erwin Records tracks here interest you, they’re all available on t his compilation.
This is a good cheap compilation of Booker T and the MGs’ music. Two were histories of Stax - Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon.Ĭountry Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it’s less likely to take statements about racial attitudes entirely at face value.
I used three main books when creating this episode. Check out Tilt’s irregular podcasts at and Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Patreon backers also have a ten-minute bonus episode available, on “He’s So Fine” by the Chiffons.
PLAY JIMMY SWAGGART MUSIC ON ECHO PRIME FULL
Click the full post to read liner notes, links to more information, and a transcript of the episode.
PLAY JIMMY SWAGGART MUSIC ON ECHO PRIME DOWNLOAD
Download file | Play in new window | Recorded on November 24, 2020Įpisode 105 of A History of Rock Music in Five Hundred Songs looks at “Green Onions”, and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties.